Oscar Volley: Supporting Actor. Who is in third, fourth, and fifth?

Oscar Volleys continue with Eric Blume and Ben Miller discussing Best Supporting Actor.

Eric Blume:  Happy to reteaming with you, Ben, to discuss that woebegone category of Best Supporting Actor. Nobody in the running  can touch what Kodi Smit-McPhee accomplishes in The Power of the Dog, a bravura combination of sleight-of-hand and lived-in work. The movie feels like an instant classic.  Kodi delivers the gift of making you want to re-watch his performances instantly to see his choices in a new context when he unfurls the full characterization.  There's depth and artistry to this performance, while appearing effortless:  it's a stunning piece of acting. But he's not the only lock...

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Oscar Volley: ‘Cruella’ is the one to beat in Best Costume Design

Continuing our Oscar Volley series at The Film Experience.  Cláudio Alves and Glenn Dunks discuss Best Costume Design

Cláudio Alves: This is my favorite Oscar race! I studied Costume Design in college and still design for theater. However, that doesn't necessarily correlate to my appreciation of the Oscar category. That admiration stems instead from this branch's propensity for lone nominees, the recognition of films with little to no hope of breaking into other races. Sometimes, that lonely contender even wins, though it's been over a decade since that last happened – 2006's Marie Antoinette with costumes by Milena Canonero.

Truthfully, I could envision that occurring this year with Cruella. Beyond that Disney fashion show, one wonders if there'll be any surprise single-category nominees. Honestly, I'm having trouble coming up with a potential candidate unless it's Cyrano or House of Gucci drastically underperforms. What about you, Glenn? 

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Oscar Volley: It's a Best Supporting Actress lovefest!

Our Oscar Volley series continues with Cláudio Alves and Nick Taylor doing a deep dive on a category near and dear to their hearts...

NICK: First, quick introductions! What drew us to this category, you ask? The Supporting Actress category was one of my favorite fields to rummage through when I was initially exploring the Oscars. Tilda Swinton, Lupita Nyong’o, Sandy Dennis, Thelma Ritter, Mo’Nique, Dianne Wiest, Agnes Moorehead - all led me to new ideas about film and performance I hadn’t dreamed of before then. Watching talented actresses carve out whole worlds from the corners of their films became one of my favorite things to search for in movies.

I have a very specific memory of discovering the Supporting Actress Smackdown after watching Kramer vs Kramer for the first time only a few weeks after the podcast on 1979 dropped and listening to the discussion with rapt attention. And then the 1948 episode came out like, the next day! Gave me wild misconceptions on how fast things updated, lemme tell you...

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Oscar Volley: Should music be judged outside of the film for Best Original Score?

Continuing our Oscar Volley series at The Film Experience. Abe Friedtanzer and Timothy Lyons on Best Original Score

Abe Friedtanzer: The Best Original Score category is an interesting one since we have only fifteen films left in consideration, which in one way is great because it's a smaller field from which to predict but also means that some terrific soundtracks are no longer in contention. I like to take the opportunity to listen to as many of the scores as I can after I see the films, to see if there's anything I pick up on or enjoy more as I hear them in a different context. This year, that has been beneficial for a film I didn't love, Don't Look Up, since Nicholas Britell's orchestrations really are a marvel, and also for Being the Ricardos, which reminded me that Daniel Pemberton's music drove the rhythm of the story just as much as Aaron Sorkin's script. I'm also intrigued by the inclusion of Candyman on the finalist list. I generally avoid horror films but the score is quite haunting. There's no chance it shows up, but it's good to see that voters are at least listening to a variety of films! My main issue has been with The Harder They Fall, a film I liked a lot but where I have trouble differentiating between score and song. That's also true for Encanto.

Do you think songs are a disadvantage or actually more likely to get voters to give the music love?  

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Oscar Volley: Adapted Screenplay - a wealth of good choices, but will the Academy make the right ones?

The Oscar volleys continue. Today Lynn Lee, Mark Brinkerhoff, and Eurocheese sound off on this year’s Adapted Screenplay race.

a wealth of options for Oscar voters

Lynn: Gentlemen, I don’t know about you, but from where I’m standing, Adapted Screenplay is an embarrassment of riches this year. There are at least three contenders that tackle the incredibly difficult task of illuminating their characters’ inner lives and psychology (The Power of the Dog, Passing, and The Lost Daughter) with minimal to no voice-over narration and they all do it brilliantly. Then there are the play adaptations – everything from Shakespeare via Coen (The Tragedy of Macbeth) to Shakespeare / Sondheim / Laurents via Kushner (West Side Story) to Jonathan Larson via Lin-Manuel Miranda (tick, tick …BOOM!) to Stephen Karam doing Stephen Karam (The Humans) – where each manages to pull off a bold departure from previous iterations while retaining basic fidelity to the source text. And then there’s my personal favorite, Drive My Car, which manages to be at once an ambitious expansion of a Murakami short story and a spectacularly moving adaptation of Chekhov’s Uncle Vanya at once.

That said, we can’t realistically expect most Oscar voters to be familiar with the underlying material for these screenplays. It’s a safer bet the nominations will align pretty closely with the Best Picture nominees or almost-nominees that don’t have original screenplays...

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